International Paintings and Sculpture | Lobster telephone View: Previous | Provenance | Exhibitions | Literature | Discussion | Other Works Discussion of the work Salvador Dalí produced two of the most hilarious objects spawned by the Surrealist movement, his Lobster telephone 1936 and Mae West lips sofa 1937. Both objects were commissioned from the artist by the English poet and collector Edward James (1907-1984), a wealthy and eccentric patron who had inherited a vast English estate and fortune at the age of five, and who has been aptly described as 'virtually a present-day adumbration of the mad Ludwig of Bavaria, capaciously rich and richly capricious, only a little less than Ludwig in wealth and eccentricity.' A leading supporter of the Surrealists, James financed the early issues of the great Surrealist magazine Minotaure, and was also an active patron of the Belgian artist René Magritte, whom he met through Dalí. James spent a small fortune on Dalí himself, and eventually owned between forty and fifty of his best works, all from the 1930s (his greatest period).

Inspired by Dalí, Edward James proceeded in the 1930s to turn his country manor into a fantasy palace filled with every kind of strange and exotic object. As well as placing three of Dalí's sofas in the shape of Mae West's lips into his living quarters, James asked Dalí to 'make-over' his telephones as well. Dali suggested that James fill his rooms with what he called 'The surrealist object - one that is absolutely useless from the practical and rational point of view, created wholly for the purpose of materialising in a fetishistic way, with the maximum of tangible reality, ideas and fantasies having a delirious character.' He then conceived a truly unforgettable object, his irresistibly playful lobster perched atop a phone, which was also called the Aphrodisiac telephone at the time, a title in keeping with Dalí's wicked sense of humour and desire to baffle his public completely. Dalí's Lobster telephone was not 'absolutely useless', however, but was in fact a perfectly functioning telephone. Edward James purchased four Lobster telephones from Dalí, with which he replaced all the original phones in his country retreat.

One of these (a partial reconstruction) is now in the collection of the Tate Gallery, London; the second is housed at the German Telephone Museum (Deutsches Postmuseum) in Frankfurt; the third is owned by the Edward James Foundation, London. The fourth original Lobster telephone (which is in the same perfect condition as it was in James' house) is now in the National Gallery of Australia. adapted from Michael Desmond, NGA acquisition submission, August 1994, by Lucina Ward DALÍ , Salvador |Lobster telephone Article 2 Salvador Dalí’s Lobster telephone is one of the most hilarious objects spawned by the Surrealist movement. It, and Mae West lips sofa 1937, was commissioned from the artist by the English poet and collector Edward James, a wealthy and eccentric patron of the arts and a leading supporter of the Surrealists. Dalí had suggested that James fill the rooms of his country manor with ‘surrealist objects’—items that are ‘absolutely useless’ from a practical and rational point of view, ‘created wholly for the purpose of materialising in a fetishistic way, with the maximum of tangible reality, ideas and fantasies having a delirious character’.

The Lobster telephone was not ‘absolutely useless’, but was in fact a functioning telephone, one of four made for James’ s home. The lobster is a reoccurring motif in the artist’s oeuvre. In The secret life of Salvador Dalí (1942), he wrote: ‘I do not understand why, when I ask for a grilled lobster in a restaurant, I am never served a cooked telephone; I do not understand why champagne is always chilled and why on the other hand telephones, which are habitually so frightfully warm and disagreeably sticky to the touch, are not also put in silver buckets with crushed ice around them.’ Food and sex were closely connected for Dalí, and it is significant that the lobster’s tail, the location of the crustacean’s sexual organs, is positioned over the telephone’s mouthpiece. At the time, this playful object was also called the Aphrodisiac telephone, in keeping with Dalí’s wicked sense of humour and his desire to baffle the public.

Text © National Gallery of Australia, Canberra 2014 From: Collection highlights: National Gallery of Australia, National Gallery of Australia, Canberra, 2014 Salvador Dalí produced two of the most hilarious objects spawned by the Surrealist movement, his Lobster telephone 1936 and Mae West lips sofa 1937. Both objects were commissioned from the artist by the English poet and collector Edward James (1907-1984), a wealthy and eccentric patron who had inherited a vast English estate and fortune at the age of five, and who has been aptly described as 'virtually a present-day adumbration of the mad Ludwig of Bavaria, capaciously rich and richly capricious, only a little less than Ludwig in wealth and eccentricity.' A leading supporter of the Surrealists, James financed the early issues of the great Surrealist magazine Minotaure, and was also an active patron of the Belgian artist René Magritte, whom he met through Dalí. James spent a small fortune on Dalí himself, and eventually owned between forty and fifty of his best works, all from the 1930s (his greatest period).

Inspired by Dalí, Edward James proceeded in the 1930s to turn his country manor into a fantasy palace filled with every kind of strange and exotic object. As well as placing three of Dalí's sofas in the shape of Mae West's lips into his living quarters, James asked Dalí to 'make-over' his telephones as well. Dali suggested that James fill his rooms with what he called 'The surrealist object - one that is absolutely useless from the practical and rational point of view, created wholly for the purpose of materialising in a fetishistic way, with the maximum of tangible reality, ideas and fantasies having a delirious character.' He then conceived a truly unforgettable object, his irresistibly playful lobster perched atop a phone, which was also called the Aphrodisiac telephone at the time, a title in keeping with Dalí's wicked sense of humour and desire to baffle his public completely. Dalí's Lobster telephone was not 'absolutely useless', however, but was in fact a perfectly functioning telephone. Edward James purchased four Lobster telephones from Dalí, with which he replaced all the original phones in his country retreat.

One of these (a partial reconstruction) is now in the collection of the Tate Gallery, London; the second is housed at the German Telephone Museum (Deutsches Postmuseum) in Frankfurt; the third is owned by the Edward James Foundation, London. The fourth original Lobster telephone (which is in the same perfect condition as it was in James' house) is now in the National Gallery of Australia. adapted from Michael Desmond, NGA acquisition submission, August 1994, by Lucina Ward DW Mae West Lips Sofa, 1936-1937 - Salvador Dali - WikiArt.org Mae West Lips Sofa it is a historically significant artwork the image is only being used for informational and educational purposes the image is readily available on the internet the image is a low resolution copy of the original artwork and is unsuitable for commercial use More … WikiArt.org allows unlimited copying, distributing and displaying of the images of public domain artworks solely. We use here Copyright term based on authors' deaths according to U.S. Copyright Law, that is 70 years. In other countries, the duration of copyright term may differ.

Please check here copyright length according to your country's legislation before you consider reproducing images borrowed from Wikipaintings.org Artworks protected by copyright are supposed to be used only for contemplation. Images of that type of artworks are prohibited for copying, printing, or any kind of reproducing and communicating to public since these activities may be considered copyright infringement. Salvador Dali Amazon.com: Customer Reviews: The Mad, Mad, Mad World of Salvador Dali (Adventures in Art) The Mad, Mad, Mad World of Salvador Dali (Adventures in Art) 3.3 out of 5 stars 5 0Comment |Was this review helpful to you? Yes No Report abuse Comment Paste the product's web address below: Product not found. Only products offered on Amazon can be linked. Select What's this? What are product links? In the text of your review, you can link directly to any product offered on Amazon.com. To insert a product link, follow these steps: 1. Find the product you want to reference on Amazon.com 2. Copy the web address of the product 3. Click Insert product link 4. Paste the web address in the box 5. Click Select 6.

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When your review is displayed on Amazon.com, this text will be transformed into a hyperlink, like so: Amazon Echo You are limited to 10 product links in your review, and your link text may not be longer than 256 characters. Please write at least one word You must purchase at least one item from Amazon to post a comment A problem occurred while submitting your comment. Please try again later. Showing 0 of 1 comments Sort by: Sofa.com | A History of Culture in 100 Sofas (and other furniture) - 1. Salvador Dali’s Mae West lips sofa (1937) A History of Culture in 100 Sofas (and other furniture) - 1. Salvador Dali’s Mae West lips sofa (1937) 19.12.2014 by Andrew Nixon A History of Culture in 100 Sofas (and other furniture) - 1.

Salvador Dali’s Mae West lips sofa (1937) Tweet Here at sofa.com we believe that not enough attention has been paid by scholars to the role of sofas , chairs and beds in the history of culture – after all, we spend a huge proportion of our lives in one or other of them. That’s why we’ve invited Andrew Nixon, editor of the leading culture blog The Dabbler , to create a new series looking at iconic, influential and unique items of furniture that have made our culture what it is. In this first instalment, he examines a sofa designed by the surrealist artist Salvador Dali... “Those who do not want to imitate anything, produce nothing”, said Salvador Dali, once. When it came to producing furniture designs, what the great surrealist and self-publicist liked to imitate most was the face of the Hollywood bombshell Mae West. At the Dali Museum in Figures, Spain, there is an entire room composed to look like the actress.

If you peep through a specially-angled lens you’ll see Mae’s visage framed in a wavy-blonde doorway, with two photographs that cleverly make the eyes, a nose-shaped fireplace, and finally the plump, red, pouting sofa of the mouth. And what a sofa it is. Never mind the floppy clocks and long-legged elephants, I’d argue that the Mae West seat is Salvador Dali’s finest work, being audacious, witty, aesthetically-pleasing and instantly recognizable. It’s surely his most famous object (except perhaps for the gloriously silly lobster telephone ) and while ‘iconic’ is an overused word, it fits here. The face of Mae West Mae West was just Dali’s sort of muse: curvaceous, bawdy, highly controversial and a lot of fun. As a comic writer and actress in movies she was notorious for pushing the boundaries of decency and frequently fell foul of the censor. This of course only helped increase her fame (she once quipped: "I believe in censorship.

I made a fortune out of it") and her popularity, especially with the male audience: in World War II Allied aircrew called their lifejackets "Mae Wests" due to their resemblance, when inflated, to her buxom figure. It is hardly surprising then, that the mischievous and erotica-obsessed Salvador Dali was drawn to her. In 1934-35 he created a painting based on a photograph of the actress called The Face of Mae West which may be used as a surrealistic apartment. In it, West’s facial features became elements in a living room: the eyes were framed pictures, the nose was a fireplace and the lips a voluptuous sofa. At that point however it was just a surreal painting rather than an actual design. A surrealist paradise The chance for Dali to turn his sofa idea into physical reality came a few years later, when he was working under the patronage of the wealthy collector and poet Edward James. James was a great enthusiast for the surrealist movement and an important figure in it – there’s even a portrait by Magritte of him looking into a mirror at the back of his own head.

At the time when Dali visited the 1936 International Surrealist Exhibition in London, James happened to be in the process of renovating Monckton House on his West Dean estate in Sussex. Discovering that Dali was rather broke, James offered to pay him a salary in return for his entire artistic output for a year, and together the two of them began working on turning Monckton House into a surrealist interior designer’s paradise. The Mae West sofa - based on Dali’s painting - arose from their collaboration. Surrealist interor at Monckton House The £62k sofa There were actually five sofas produced in 1938, all of which James kept, with ownership passing to the Edward James Foundation after his death in 1984. Two were subsequently sold and when one of those was auctioned by Christie’s in 2003 it fetched an impressive £62,140. The successful bidder was anonymous – but whoever they are, they’re unlikely to be using it for sitting on to watch the telly.

Despite the inviting-looking red satin fabric, the Mae West sofa is not, apparently, very comfy: Dali claimed that he partly based the design on a cluster of particularly uncomfortable rocks near the seaside resort of Cadaques. So, as visually splendid as it might be, lacking any practical use in the home I don’t suppose Dali’s Mae West lips piece would qualify for the sofa.com sofa portfolio . But for its audacity, its perfect encapsulation of the funny side of the Surrealist movement, and its demonstration of just how far you can separate a piece of furniture’s value from its function, it is worthy of its place as the opening entry in our History of Culture in 100 Sofas (and other furniture). Mae West room at the Dali Museum A History of Culture in 100 Sofas (and other furniture) - 1.

Salvador Dali’s Mae West Lips sofa What: Wood and red satin sofa, 86.5 x 183 x 81.5 cm When: 1937 Why it’s culturally significant: The high point of cheeky surrealist wit Next: John and Yoko's 'Lie-In' Protest Bed Salvador Dalí's Art | paintings, surrealism, sculptures, soft watches | INMSOL Salvador Dalí’s Art 11 April, 2011 Salvador Domènec Felip Jacint Dalí i Domènech, Marquis of Dalí de Púbol (May 11, 1904 – January 23, 1989), commonly known as Salvador Dalí was a prominent Spanish Catalan surrealist painter born in Figueres. Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters. His best-known work, The Persistence of Memory, was completed in 1931. Dalí’s expansive artistic repertoire includes film, sculpture, and photography, in collaboration with a range of artists in a variety of media.

Dalí attributed his “love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes” to a self-styled “Arab lineage,” claiming that his ancestors were descended from the Moors. Dalí was highly imaginative, and also had an affinity for partaking in unusual and grandiose behavior. His eccentric manner and attention-grabbing public actions sometimes drew more attention than his artwork to the dismay of those who held his work in high esteem and to the irritation of his critics. Symbolism Dalí employed extensive symbolism in his work. For instance, the hallmark “soft watches” that first appear in The Persistence of Memory suggest Einstein’s theory that time is relative and not fixed. The idea for clocks functioning symbolically in this way came to Dalí when he was staring at a runny piece of Camembert cheese on a hot day in August. The elephant is also a recurring image in Dalí’s works. It first appeared in his 1944 work Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening.

The elephants, inspired by Gian Lorenzo Bernini’s sculpture base in Rome of an elephant carrying an ancient obelisk, are portrayed “with long, multijointed, almost invisible legs of desire”along with obelisks on their backs. Coupled with the image of their brittle legs, these encumbrances, noted for their phallic overtones, create a sense of phantom reality. “The elephant is a distortion in space,” one analysis explains, “its spindly legs contrasting the idea of weightlessness with structure. “I am painting pictures which make me die for joy, I am creating with an absolute naturalness, without the slightest aesthetic concern, I am making things that inspire me with a profound emotion and I am trying to paint them honestly.” —Salvador Dalí, in Dawn Ades, Dalí and Surrealism. The egg is another common Dalíesque image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love; it appears in The Great Masturbator and The Metamorphosis of Narcissus. The Metamorphosis of Narcissus also symbolized death and petrification.

Various animals appear throughout his work as well: ants point to death, decay, and immense sexual desire; the snail is connected to the human head (he saw a snail on a bicycle outside Freud’s house when he first met Sigmund Freud); and locusts are a symbol of waste and fear. Endeavors outside painting Dalí was a versatile artist. Some of his more popular works are sculptures and other objects, and he is also noted for his contributions to theatre, fashion, and photography, among other areas. Two of the most popular objects of the surrealist movement were Lobster Telephone and Mae West Lips Sofa, completed by Dalí in 1936 and 1937, respectively. Surrealist artist and patron Edward James commissioned both of these pieces from Dalí; James inherited a large English estate in West Dean, West Sussex when he was five and was one of the foremost supporters of the surrealists in the 1930s.

“Lobsters and telephones had strong sexual connotations for [Dalí],” according to the display caption for the Lobster Telephone at the Tate Gallery, “and he drew a close analogy between food and sex.” The telephone was functional, and James purchased four of them from Dalí to replace the phones in his retreat home. One now appears at the Tate Gallery; the second can be found at the German Telephone Museum in Frankfurt; the third belongs to the Edward James Foundation; and the fourth is at the National Gallery of Australia. The wood and satin Mae West Lips Sofa was shaped after the lips of actress Mae West, whom Dalí apparently found fascinating. West was previously the subject of Dalí’s 1935 painting The Face of Mae West. Mae West Lips Sofa currently resides at the Brighton and Hove Museum in England. Between 1941 and 1970, Dalí created an ensemble of 39 jewels. The jewels are intricate, and some contain moving parts.

The most famous jewel, “The Royal Heart”, is made of gold and is encrusted with 46 rubies, 42 diamonds, and four emeralds and is created in such a way that the center “beats” much [like a real heart. Dalí himself commented that “Without an audience, without the presence of spectators, these jewels would not fulfill the function for which they came into being. The viewer, then, is the ultimate artist.” (Dalí, 1959.) The “Dalí — Joies” (“The Jewels of Dalí”) collection can be seen at the Dalí Theater Museum in Figueres, Catalonia, Spain, where it is on permanent exhibition. In theatre, Dalí constructed the scenery for Federico García Lorca’s 1927 romantic play Mariana Pineda. For Bacchanale (1939), a ballet based on and set to the music of Richard Wagner’s 1845 opera Tannhäuser, Dalí provided both the set design and the libretto. Bacchanale was followed by set designs for Labyrinth in 1941 and The Three-Cornered Hat in 1949.

Dalí became intensely interested in film when he was young, going to the theatre most Sundays. He was part of the era where silent films were being viewed and drawing on the medium of film became popular. He believed there were two dimensions to the theories of film and cinema: “things themselves”, the facts that are presented in the world of the camera; and “photographic imagination”, the way the camera shows the picture and how creative or imaginative it looks. Dalí was active in front of and behind the scenes in the film world. He created pieces of artwork such as Destino, on which he collaborated with Walt Disney. He is also credited as co-creator of Luis Buñuel’s surrealist film Un Chien Andalou, a 17-minute French art film co-written with Luis Buñuel that is widely remembered for its graphic opening scene simulating the slashing of a human eyeball with a razor. This film is what Dalí is known for in the independent film world. Un Chien Andalou was Dalí’s way of creating his dreamlike qualities in the real world. Images would change and scenes would switch, leading the viewer in a completely different direction from the one they were previously viewing.

The second film he produced with Buñuel was entitled L’Age d’Or, and it was performed at Studio 28 in Paris in 1930. L’Age d’Or was “banned for years after fascist and anti-Semitic groups staged a stink bomb and ink-throwing riot in the Paris theater where it was shown.” Although negative aspects of society were being thrown into the life of Dalí and obviously affecting the success of his artwork, it did not hold him back from expressing his own ideas and beliefs in his art. Both of these films, Un Chien Andalou and L’Age d’Or, have had a tremendous impact on the independent surrealist film movement. “If Un Chien Andalou stands as the supreme record of Surrealism’s adventures into the realm of the unconscious, then L’Âge d’Or is perhaps the most trenchant and implacable expression of its revolutionary intent.” Dalí also worked with other famous filmmakers, such as Alfred Hitchcock. The most well-known of his film projects is probably the dream sequence in Hitchcock’s Spellbound, which heavily delves into themes of psychoanalysis.

Hitchcock needed a dreamlike quality to his film, which dealt with the idea that a repressed experience can directly trigger a neurosis, and he knew that Dalí’s work would help create the atmosphere he wanted in his film. He also worked on a documentary called Chaos and Creation, which has a lot of artistic references thrown into it to help one see what Dalí’s vision of art really is. He also worked on the Disney short film production Destino. Completed in 2003 by Baker Bloodworth and Roy E. Disney, it contains dreamlike images of strange figures flying and walking about. It is based on Mexican songwriter Armando Dominguez’ song “Destino”. When Disney hired Dalí to help produce the film in 1946, they were not prepared for the work that lay ahead. For eight months, they continuously animated until their efforts had to come to a stop when they realized they were in financial trouble. They had no more money to finish the production of the animated film; however, it was eventually finished and shown in various film festivals. The film consists of Dalí’s artwork interacting with Disney’s character animation.

Dalí completed only one other film in his lifetime, Impressions of Upper Mongolia (1975), in which he narrated a story about an expedition in search of giant hallucinogenic mushrooms. The imagery was based on microscopic uric acid stains on the brass band of a ballpoint pen on which Dalí had been urinating for several weeks. Dalí built a repertoire in the fashion and photography industries as well. In fashion, his cooperation with Italian fashion designer Elsa Schiaparelli is well-known, where Dalí was hired by Schiaparelli to produce a white dress with a lobster print. Other designs Dalí made for her include a shoe-shaped hat and a pink belt with lips for a buckle. He was also involved in creating textile designs and perfume bottles. In 1950, Dalí created a special “costume for the year 2045” with Christian Dior. Photographers with whom he collaborated include Man Ray, Brassaï, Cecil Beaton, and Philippe Halsman.

With Man Ray and Brassaï, Dalí photographed nature; with the others, he explored a range of obscure topics, including (with Halsman) the Dalí Atomica series (1948)—inspired by his painting Leda Atomica — which in one photograph depicts “a painter’s easel, three cats, a bucket of water, and Dalí himself floating in the air.” References to Dalí in the context of science are made in terms of his fascination with the paradigm shift that accompanied the birth of quantum mechanics in the twentieth century. Inspired by Werner Heisenberg’s Uncertainty Principle, in 1958 he wrote in his “Anti-Matter Manifesto”: “In the Surrealist period, I wanted to create the iconography of the interior world and the world of the marvelous, of my father Freud. Today, the exterior world and that of physics has transcended the one of psychology. My father today is Dr. Heisenberg.” In this respect, The Disintegration of the Persistence of Memory, which appeared in 1954, in hearkening back to The Persistence of Memory, and in portraying that painting in fragmentation and disintegration summarizes Dalí’s acknowledgment of the new science.

Architectural achievements include his Port Lligat house near Cadaqués, as well as the Dream of Venus surrealist pavilion at the 1939 World’s Fair, which contained within it a number of unusual sculptures and statues. His literary works include The Secret Life of Salvador Dalí (1942), Diary of a Genius (1952–63), and Oui: The Paranoid-Critical Revolution (1927–33). The artist worked extensively in the graphic arts, producing many etchings and lithographs. While his early work in printmaking is equal in quality to his important paintings as he grew older, he would sell the rights to images but not be involved in the print production itself. In addition, a large number of unauthorized fakes were produced in the eighties and nineties, thus further confusing the Dalí print market. He took a stab at industrial design in the 1970s with a 500-piece run of the upscale Suomi tableware by Timo Sarpaneva that Dalí decorated for the German Rosenthal porcelain maker’s Studio Linie. One of Dalí’s most unorthodox artistic creations may have been an entire person.

At a French nightclub in 1965, Dalí met Amanda Lear, a fashion model then known as Peki D’Oslo. Lear became his protégé and muse, writing about their affair in the authorized biography My Life With Dalí (1986). Transfixed by the mannish, larger-than-life Lear, Dalí masterminded her successful transition from modeling to the music world, advising her on self-presentation and helping spin mysterious stories about her origin as she took the disco-art scene by storm. According to Lear, she and Dalí were united in a “spiritual marriage” on a deserted mountaintop. Referred to as Dalí’s “Frankenstein,” some believe Lear’s name is a pun on the French “L’Amant Dalí,” or Lover of Dalí. Lear took the place of an earlier muse, Ultra Violet (Isabelle Collin Dufresne), who had left Dalí’s side to join The Factory of Andy Warhol. Politics and personality Salvador Dalí’s politics played a significant role in his emergence as an artist.

In his youth, he embraced both anarchism and communism, though his writings account anecdotes of making radical political statements more to shock listeners than from any deep conviction. This was in keeping with Dalí’s allegiance to the Dada movement. As he grew older his political allegiances changed, especially as the Surrealist movement went through transformations under the leadership of Trotskyist André Breton, who is said to have called Dalí in for questioning on his politics. In his 1970 book Dalí by Dalí, Dalí was declaring himself an anarchist and monarchist. With the outbreak of the Spanish Civil War, Dalí fled from fighting and refused to align himself with any group.

Likewise, after World War II, George Orwell criticized Dalí for “scuttling off like a rat as soon as France is in danger” after Dalí prospered there for years: “When the European War approaches he has one preoccupation only: how to find a place which has good cookery and from which he can make a quick bolt if danger comes too near.” In a notable 1944 review of Dalí’s autobiography, Orwell wrote, “One ought to be able to hold in one’s head simultaneously the two facts that Dalí is a good draughtsman and a disgusting human being.” After his return to Catalonia after World War II, Dalí became closer to the authoritarian Franco regime. Some of Dalí’s statements supported the Franco regime, congratulating Franco for his actions aimed “at clearing Spain of destructive forces.” Dalí, having returned to the Catholic faith and becoming increasingly religious as time went on, may have been referring to the Republican atrocities during the Spanish Civil War. Dalí sent telegrams to Franco, praising him for signing death warrants for prisoners. He even met Franco personally and painted a portrait of Franco’s granddaughter.

He also once sent a telegram praising the Conducător, Romanian Communist leader Nicolae Ceauşescu, for his adoption of a scepter as part of his regalia. The Romanian daily newspaper Scînteia published it, without suspecting its mocking aspect. One of Dalí’s few possible bits of open disobedience was his continued praise of Federico García Lorca even in the years when Lorca’s works were banned. Dalí, a colorful and imposing presence in his ever-present long cape, walking stick, haughty expression, and upturned waxed mustache, was famous for having said that “every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí.” The entertainer Cher and her husband Sonny Bono, when young, came to a party at Dalí’s expensive residence in New York’s Plaza Hotel and were startled when Cher sat down on an oddly shaped sexual vibrator left in an easy chair. When signing autographs for fans, Dalí would always keep their pens. When interviewed by Mike Wallace on his 60 Minutes television show, Dalí kept referring to himself in the third person, and told the startled Mr.

Wallace matter-of-factly that “Dalí is immortal and will not die.” During another television appearance, on The Tonight Show, Dalí carried with him a leather rhinoceros and refused to sit upon anything else. Opinions Course feedback – Spanish school in Granada – Michael Barrett "The school was very good. I have met a lot of sympathic people again, teachers and students, in a nice... 2014-06-05T11:51:47+00:00 "The school was very good. I have met a lot of sympathic people again, teachers and students, in a nice environment. I also worked a lot and I think that I made a lot of progress. I started with speaking a little bit of Spanish for the first time. I have to continue study Spanish in France. I will come back another day to finish where I started. I loved Granada. The city was very well with a lot of history and culture. I visited the Alhambra en Albaícin and both were magnificent. I also went to Sierra Nevada, I skied a little but, but the weather was bad.

I have to return another time to see the mountaint with the sun and the blue sky. I also went to Malaga and Marbella in the weekends with my car and it was a marvelous weekend. I visited the old town of Marbella and the old town of Mijas aswell. Those two are very beautiful. I especially loved the nightlife and Tapasbars of Granada. Every night I went to the bars. I drank Spanish beer and eated tapas, ham, cheese, tortillas, pealles etc. The environment in the bars was perfect. Course feedback – Spanish school in Granada – Laura Mozota "After I finished my degree in Hispanish Philology in Barcelona, I decided to specialize myself in teaching Spanish as a... 2014-06-05T10:48:06+00:00 "After I finished my degree in Hispanish Philology in Barcelona, I decided to specialize myself in teaching Spanish as a foreign language. I got information from different Institutes who provided courses for teachers and I chose to study at Imsol, because it´s an accredited centre for Instituto Cervantes, also satisfying high level standards.

The guarantee that the training would be profesional convinced me to move from Barcelona to Granada. Also, Imsol is located in the heart of the city centre that captured me from the first moment; Granada is a magical enclave, where the study becomes pleasent, the whole city is surrounded by culture and history, of art and bohemian. My experience with Inmsol was unbeatable, And It will keep one of the best memories of my life in Andalusia. The course that I carried out also opened me doors to work as a teacher. In fact I was able to work as a teacher in one of the most presticious school in Andalusia with this diploma. Thanks a lot for your professionality and humanity, a big hug for everyone who makes Imsol such a great school. Laura Mozota Martínez" Course feedback – Spanish school in Granada – Ozan Ergun "When I went to the course, I couldn´t speak Spanish, but during the course I started to speak Spanish and...

2014-06-05T07:51:08+00:00 "When I went to the course, I couldn´t speak Spanish, but during the course I started to speak Spanish and I felt better. The classes were very funny. During the course, we learned Spanish through games, excursions etc. The teachers are very profesional, they are very good with students and helped us a lot. The school has a central location and is close to the beach. It´s better to learn Spanish in Spain, because you have to speak Spanish here, no one can speak your language, this is the reason why you advance your level very fast. I like Spain very much and I like to come here another year again". Course feedback – Spanish school in Granada – Gabriel Spinelli Salaro "Be in Granada and know the Alhambre were realizations of my dream, but not as important as the fact of...

2014-06-05T10:11:18+00:00 "Be in Granada and know the Alhambre were realizations of my dream, but not as important as the fact of passing 2 offical exams (one about business and one about tourism). I will never forget the kindness of many Granadians and the Imsol team, they were always friendly and thouhtfull. I could share many information about my city (Santos) and my country (Brazil). Everyone at Inmsol is wonderfully professional. One more time "Muchos Gracias". Greetings from Brazil, Gabriel". Course feedback – Spanish school in Granada – Betül Ünsever "I stayed in Granada for 4 months. I admire the city and the school. The teachers are very good and... 2014-06-09T09:41:41+00:00 "I stayed in Granada for 4 months. I admire the city and the school. The teachers are very good and are good trained. When I went to the school, I couldnñt speak Spanish, after 4 months of training I learned very well.

I didn´t think I could learn a language in 4 months, but it´s possible in the school, thank you for everything teachers. The classes are playful and fun. The books that you need can be obtain at the school. There are a lot of films and books, which you can bring to your home and watch. They also organise trips to other cities. There are lessons with free additional. One time a week there are lessons about art, cinema, historie. The teachers helps us with every subject. I met people from different countries. I did not need to visit other cities, because the world seems to be Granada, people can find the world in Granada. I would go back there again. They welcomed me very well the first day and, although i did not know Spanish, I didn´t had any problems. I could say so much more, but in generel everything was perfect. My advise is to stay longer to get to know the Spanish culture" lobster telephone : definition of lobster telephone and synonyms of lobster telephone (English) 4 References Description of the Sculpture The piece is a composite of an ordinary working telephone and a lobster (made of plaster ).

It is approximately 15 × 30 × 17 cm (6 × 12 × 6.6 inches) in size . Possible Interpetations of the Sculpture Dalí created this object with the specific intention of aligning the lobster's genitalia with the end of the phone into which one would speak , thus aligning the speaker's mouth with the lobster 's genitalia. These were an example of sexual references through art, but represented through food items. One possible interpretation of the sculpture would be to liken the idea of women to the lobster itself - just like the lobster having a hard shell and a delicately satisfying inside flesh, women tended to bear such qualities - a hardy exterior and a delicate inside. Sculpture Exhibition Five copies of the full color object were made. One now appears at the Dalí Universe in London ; the second can be found at the Museum of Telecommunication in Frankfurt ; the third belongs to the Edward James Foundation; and the fourth is at the National Gallery of Australia . The sculpture was displayed at the National Gallery of Victoria during the Salvador Dalí Liquid Desire exhibition. A fifth version is held by Tate Modern .

[1] There were also six all- white versions which were produced, one of which is on display at the Minneapolis Institute of Arts and one at the Salvador Dalí Museum in St. Petersburg, Florida . References Spanish Painters: Salvador Dalí (1904-1989) Home Modern Spanish Painting Salvador Dalí Surrealism: Salvador Dalí Salvador Dalí is one of the most eccentric Surrealist painters of the 20th Century, noted for his wild moustache and even wilder paintings. However, Salvador Dalí also made a significant contribution to the areas of film, sculpture and photography. Salvador Dalí (1904-1989) Salvador Dalí was born in Figueres, north of Barcelona, in Catalonia. Dali attended drawing school yet it was when his family went away for the summer that he learnt most about Modern Art. This was because the Dalí family used to holiday with the family of a local artist, Ramon Pichot. During his adolescence he suffered many personal tragedies.

Just before he was born, his older brother died, leading his parents to believe that Salvador was a reincarnation of his brother, a belief that even Salvador himself would come to believe. Later, Salvador Dalí's mother died when he was only sixteen years old. Two years later, Dalí began to study at the Academia de San Fernando, a school in Madrid for the Fine Arts. Dalí was an extremely productive Spanish painter, producing over 1500 paintings as well as other works. Salvador Dalí's first painting was completed in 1910, when he was only six years old. Among his most famous paintings are 'The Persistence of Memory' (La persistencia de la memoria) (1931) and 'Soft Construction with Boiled Beans (Premonition of Civil War)' (Construcción blanda con judias hervidas (Premonicion de la guerra civil)) (1936). Many of Salvador Dalí's paintings contained images of elephants, although elephants with extremely long, thin legs. Some critics have said that these elephants are therefore a representation of phantom reality. Dalí also liked to paint eggs.

Eggs are unborn creatures and therefore parallels have been drawn between eggs and feelings of love and hope in Dalí's paintings. Salvador Dalí was generally a Surrealist painter but he also created several Surrealist objects including the 'Lobster Telephone' (1936) and 'Mae West's Lips Sofa' (1937). It is said that Dalí created 'Mae West's Lips Sofa' as he had an obsession with the American actress. Dalí even designed the logo for the, now international, Spanish lollipop company, Chupa Chups , in 1969. The bright daisy shape is now an internationally recognised brand of which the company is very proud. Salvador Dalí has inspired vast numbers of artists from all domains of art such as the artist Damien Hirst, the comedian Noel Fielding, and the sculptor Jeff Koons. One of Dalí's greatest fans was the Spanish King, Juan Carlos I , who bestowed upon Dalí the title of 'Marqués de Dalí de Púbol'. In appreciation of this, Salvador Dalí gave King Juan Carlos a painting.

Salavdor Dalí's work is internationally famous and as such, it is exhibited in some of the best museums and art galleries in the world. The best place in Spain to study them is at the Museo Reina Sofia , the modern art gallery in Madrid. Dalí's work is very highly praised, yet it could be said that it was his personality and exploits that made him so memorable. Even Salvador Dalí's appearance was fantastically flamboyant, with the trademark waxed moustache which is said to be modelled on that of the Spanish artist, Diego Velázquez. However, some of his antics also made him unpopular with other artists. For example, in 1934 Dalí and his wife Gala, attended a fancy dress ball in New York to which they went dressed as the Lindbergh baby and his kidnapper. This caused a huge outrage in the media in the USA. Dalí then apologised for causing offence with his costume. Yet on his return to Paris, the group of Surrealist artists confronted Dalí, saying that he should not have apologised for a Surrealist act. © Spanish Arts 2011

Question: Which artist created 'The Lobster Telephone' in 1936 and 'Mae West Lip Sofa' in 1937?
Answer: Salvador Dali